Tales of Terror

 

Last night, I rewatched my favorite film from the Corman Poe cycle - Tales of Terror. Made in 1962, this one features a fantastic script from the great Richard Matheson. Corman certainly recognized talent when he saw it. Matheson penned 4 of the Poe films - Charles Beaumont wrote another three, and Robert Towne wrote the final one, Tomb of Ligeia. Talk about an embarrassment of riches!

Tales of Terror is the fourth film in the series. It is a horror anthology comprised of three stories: Morella, The Black Cat, and The Case of M. Valdemar. Each of the stories features Vincent Price prominently. 

In Morella, Price plays Locke, whose estranged daughter Lenora (Maggie Pierce) returns to reunite with him before she dies of an illness. But the drunken, depressed Locke harbors a dark secret in the crumbling, cobweb-laden mansion…

The second tale is The Black Cat, a clever mashup of the Poe stories The Black Cat and The Cask of Amontillado. Matheson managed to combine the two tales flawlessly, and this story features my favorite segment of any film from Corman’s Poe cycle; the drinking contest between Fortunato Luchresi (Price) and Montresor Herringbone (Peter Lorre). Montressor stumbles into a wine-tasting convention and challenges the expert, Fortunato, to a tasting contest. The two actors play off one another perfectly in this segment, with Price genteelly sipping his wine in the approved fashion, while Lorre gulps great goblets of wine. 

The final story is The Case of M. Valdemar. Price plays Valdemar, an elderly man on his deathbed, who agrees to be hypnotized at the point of death by Carmichael (Basil Rathbone). This has unintended consequences, as Valdemar becomes trapped in a purgatory between life and death…

This film was a turning point in the series, as Corman decided to intentionally work humor into the script for the first time. Corman was worried they were beginning to repeat themselves in some ways with these films and thought working in humor would help differentiate this one. Which he should be credited for - always the artist, Corman wanted to stretch and try something new rather than take the easy route, which would have been more of the same. There had previously been humorous moments in the first three films, but this was the first time they intentionally made one of the films, or at least a segment of it, a comedy. The first two movies each featured a somber tone, but the second story in Tales of Terror leaned heavily into humor to great effect. That is not to say it was a straight comedy - it gracefully walks a tightrope between humor and horror, which isn’t the easiest thing to do. Matheson’s script has some genuine chills in addition to the laughs. This is the best segment in the film and sets the stage for a comedic feature film with the next Poe film, The Raven. 

“I am genuinely dedicated to your destruction.”

This segment also features a dream sequence that fits in with another theme I’ve been exploring recently - severed heads in films. Montressor returns from a heavy night of drinking at the pub and passes out on his bed. Now one note - at this point of the film he has discovered that his wife Annabel (Joyce Jameson) and Fortunato were having an affair, and has murdered both of them. He sealed their corpses inside a wall in the basement. He dreams that the two of them break free of their imprisonment and pull his head off, then begin playing catch with it. Lorre’s severed head begins protesting, “Give me back my head” while they play keep-away from his headless corpse, which is running around frantically.

It’s a neat little dream sequence, which these Corman films almost always feature - and has a touch of the macabre in it along with the humor; the scene of the corpses coming alive and breaking through the brick wall is legitimately spooky. I could see it giving young viewers nightmares in 1962.

All of the Poe films were influential to fellow filmmakers at that time, and it must be noted this was pre-Amicus days. There had been a few anthology films up to this point, but not a lot. This one helped pave the way for more to come, as Amicus’ first portmanteau, Dr. Terror’s House of Horrors, would be made just three years after this. It's not a stretch to imagine that Subotsky and Rosenberg, the founders of Amicus, were influenced and inspired by this film.